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IMDbPro

Queridísima mamá

Título original: Mommie Dearest
  • 1981
  • 14
  • 2h 9min
PUNTUACIÓN EN IMDb
6,7/10
19 mil
TU PUNTUACIÓN
Faye Dunaway in Queridísima mamá (1981)
The abusive and traumatic adoptive upbringing of Christina Crawford at the hands of her mother, screen queen Joan Crawford, is depicted.
Reproducir trailer4:11
1 vídeo
99+ imágenes
DocudramaPsychological DramaShowbiz DramaBiographyDrama

Se trata sobre la crianza abusiva y traumática de Christina Crawford a manos de su madre adoptiva, Joan Crawford, quien es una estrella de cine.Se trata sobre la crianza abusiva y traumática de Christina Crawford a manos de su madre adoptiva, Joan Crawford, quien es una estrella de cine.Se trata sobre la crianza abusiva y traumática de Christina Crawford a manos de su madre adoptiva, Joan Crawford, quien es una estrella de cine.

  • Dirección
    • Frank Perry
  • Guión
    • Christina Crawford
    • Frank Yablans
    • Frank Perry
  • Reparto principal
    • Faye Dunaway
    • Diana Scarwid
    • Steve Forrest
  • Ver la información de la producción en IMDbPro
  • PUNTUACIÓN EN IMDb
    6,7/10
    19 mil
    TU PUNTUACIÓN
    • Dirección
      • Frank Perry
    • Guión
      • Christina Crawford
      • Frank Yablans
      • Frank Perry
    • Reparto principal
      • Faye Dunaway
      • Diana Scarwid
      • Steve Forrest
    • 226Reseñas de usuarios
    • 87Reseñas de críticos
    • 55Metapuntuación
  • Ver la información de la producción en IMDbPro
    • Premios
      • 9 premios y 11 nominaciones en total

    Vídeos1

    Trailer
    Trailer 4:11
    Trailer

    Imágenes101

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    Reparto principal56

    Editar
    Faye Dunaway
    Faye Dunaway
    • Joan Crawford
    Diana Scarwid
    Diana Scarwid
    • Christina Crawford - Adult
    Steve Forrest
    Steve Forrest
    • Greg Savitt
    Howard Da Silva
    Howard Da Silva
    • L.B. Mayer
    Mara Hobel
    Mara Hobel
    • Christina Crawford - Child
    Rutanya Alda
    Rutanya Alda
    • Carol Ann
    Harry Goz
    • Al Steele
    Michael Edwards
    Michael Edwards
    • Ted Gelber
    Jocelyn Brando
    Jocelyn Brando
    • Barbara Bennett
    Priscilla Pointer
    Priscilla Pointer
    • Mrs. Chadwick
    Joe Abdullah
    • Captain
    Gary Allen
    • Jimmy - Photographer
    Selma Archerd
    Selma Archerd
    • Connie
    Adrian Aron
    • Wedding Guest
    Xander Berkeley
    Xander Berkeley
    • Christopher Crawford - Adult
    Matthew Campion
    • Actor in Soap - Bill
    Carolyn Coates
    • Mother Superior
    Jerry Douglas
    Jerry Douglas
    • Radio Interviewer
    • Dirección
      • Frank Perry
    • Guión
      • Christina Crawford
      • Frank Yablans
      • Frank Perry
    • Todo el reparto y equipo
    • Producción, taquilla y más en IMDbPro

    Reseñas de usuarios226

    6,719.4K
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    Reseñas destacadas

    7ekontrovitz

    One of the saddest stories I've ever seen.

    Having read most of the reviews I really expected some terribly acted, campy cult flick. What I got is one of the saddest movies I've ever seen. I've never been a fan of Joan Crawford. Just about the only movie of hers I've ever liked was Mildred Pierce. I've always gotten a bad vibe from her. She seemed hard and cold. This movie just justified my feeling.

    I remember the publicity when the book and movie came out. I didn't read the book and didn't watch the movie until today. It is gut wrenching. The story is so well known I don't have to go over it. The is as much Joan's story as it is Christina's and each one is flawed. But Joan was an adult her mental and physical cruelty to Christina is inexcusable. Fay Dunaway did a really wonderful job. Why this ruined her career is beyond me. Christina is more complex as a character and both actresses did a fine job. Neither character is portrayed as blameless and that is why the story is so complex. They are both so very flawed.

    The end is just another kick in the gut, the final cruelty in a lifetime of cruelties, and the look in Christina's eyes as the camera fades out is chilling. I can't for the life of me understand why anyone would laugh at anything in this movie or call it campy. I have no idea why Ms. Dunaway refuses to talk about it, or why it ruined her career. She did a helluva job.

    This is hard to watch but is worth the time.
    TJBNYC

    Woman on the Verge of a Nervous Breakdown

    There is no doubt that Christina Crawford's scathing 1978 memoirs did much initial harm to her late mother's reputation. The subsequent 1981 film has eclipsed even the bestselling book to become the standard by which the real-life Joan is judged. However, I'm inclined to believe that those who dismiss Joan today as a psychotic harpy and nothing more never even saw the film version of "Mommie Dearest," and only heard secondhand reports of the most infamous scene ("No...wire...hangers!").

    Most tellingly, Christina Crawford reportedly hated the film version of her book, and wailed upon seeing it, "They turned it into a Joan Crawford movie!" She's right. With the exception of the two most graphic scenes ("No wire hangers" and the choking scene), Joan's "abuse" of Christina is not all that much different from what passed as "discipline" in those days--just ask your parents or grandparents--and despite Faye Dunaway's full-throttle acting, Joan always somehow comes off in a strangely sympathetic light.

    What we see is an insecure woman fighting for survival in an age-obsessed, male-dominated industry. Such scenes as Joan's heartless dismissal from MGM invite sympathy; while her snarling, veritable takeover of Pepsi Co. elicts cheers for her ballsiness and strength. Christina, on the other hand, is invariably depicted as either gratingly whiny or cardboard stiff. It's difficult to empathize with such an annoying character.

    "Mommie Dearest"'s grandest artistic achievement is through the impeccable art direction, which truly makes the audience believe they are watching a film unfold in the 1940's and 1950's. Its lasting legacy, however, is Faye Dunaway's career-ending performance, which, depending on your point of view, is either jaw-droppingly awful or unbelievably brilliant.

    Dunaway's acting "choices" are nothing if not idiosyncratic: clutching her bosom frantically as she cries, "You...deliberately...embarass me in front of a REPORTER!"; copying the real-life Crawford's facial expressions from the horror flick "Strait-Jacket" in the axe-wielding scene; and, most famously, her odd, cross-eyed pose that she strikes not once, or twice, but three times: holding baby Christina on the staircase, rubbing moisturizer on her elbows after hiding Christina's dolls, and following her wire hanger/cleansing powder attack.

    It is Dunaway's nostril-flaring, hair-pulling, bosom-clutching style that really sends this film into the camp stratosphere. On paper, such scenes as Joan swatting Christina on the butt for defying her orders, or Joan insisting that Christina finish her rare steak, would seem bland. In Dunaway's hands, they become something else altogether!

    Actually, Christina Crawford should thank Faye Dunaway; if not for her crazed, unforgettable portrayal, "Mommie Dearest" would have been just another trashy Hollywood memoir that eventually would've been forgotten (does anyone really care about B.D. Hyman's book about Bette Davis anymore?). And a film version without Dunaway would've been rightfully panned, forgotten, and relegated to cut-out bins at your local video emporium. Instead, Faye Dunaway has ensured its place in film immortality. It still stands alone among camp classics, but perhaps some re-evaluation of it (and of Joan Crawford herself) is due.
    8alex54ruiz

    Why would Faye deny this movie so? She's great.

    Alright, this might not be too obscure of a movie but when it came out it wasn't well received and pretty much ignored causing it to have a huge cult following. The acting by Dunaway as Joan Crawford is so exaggerated that it seems unbelievable that it's a biographical tale. More than Crawford's story as an actress, this movie deals with the painful, abusive, and traumatic upbringing of her daughter Christina (she wrote the book that prompted the making of this movie). Some say Christina made a lot of it up to destroy her mother's reputation but others say it might be quite accurate. Either way, Dunaway's performance as the Screen Queen is uncanny. She embodies every quality of Crawford and watching the movie you forget that it's not really Joan but Faye in the role. Sure, this movie won Razzie Awards and the producers even tried to capitalize with its failure by billing it "The worst mother of them all." Dunaway even goes as far as telling interviewers beforehand that she will not talk about this movie. One can understand her seeing that she was campaigning for an Oscar nod and instead won the Razzie for worst actress but none of that matters because this movie is now seen as a great tragedy and you'll definitely get lost in the story wondering if everything is true. Oh, and the scenes with Faye Dunaway and Mara Hobel, who plays young Christina Crawford, are amazing. It's no wonder she won the Young Artist Award. Seriously, watch it. The "No more wire hangers" scene alone is enough to watch this great film.
    5gftbiloxi

    Mommie Deadly: An Alternate Reality In A Galaxy Far, Far Away

    Given the film's current cult movie status one is tempted to believe the 1981 MOMMIE DEAREST was a critical debacle and a box office fiasco. That is not really the case. It is true that critics generally considered the film a failure, but many of them admired certain elements of it; it is also true that box office fell below expectations, but it was not a box office disaster in the same sense as the 1980 HEAVEN'S GATE or the 1981 INCHON.

    It is also true, however, that audiences howled with laughter at the film when it debuted, and although leading lady Faye Dunaway received a number of critical accolades for her performance as Joan Crawford, she also received an equal number of devastating reviews--and it was these that caught the spotlight. It was a humiliating experience for an actress particularly noted for her perfectionism, and rumor has it that Dunaway feels the film ended her career as a major film star. Whatever the case, Dunaway quickly developed a strategic silence about the film that she has maintained for some two decades.

    Seen today, it is easy to identify the core problems of the film. The most obvious is the script, which is extremely inconsistent in quality and yet perversely consistent in a style that can only be described as soap opera hot-house to the nth degree. This is particularly true of the dialogue assigned to Dunaway. Infamous lines such as "No More Wire Hangers Ever," "Tina! Bring Me The Axe," and "I'm Not Mad At You, I'm Mad At The Dirt" have become a staple of every drag queen from Maine to California.

    But the ultimate disaster here is director Frank Perry. Joan Crawford was a larger-than-life personality; the role is written to reflect this; Dunaway plays the role as it was written. But it would seem Perry sought to heighten the effect: the rest of the cast is extremely, extremely restrained. This must have seemed like a good idea in theory, but it proves a terrible mistake in actual fact. No matter what Dunaway does with it, she can NEVER seem less than wildly overwrought in comparison to the rest of the cast, and the effect is very peculiar indeed.

    The designs and the cinematography also clash in an incredibly bizarre way. There is absolutely no doubt that everything about the film is exactingly accurate: that is indeed the look of the period, right down to the very last detail. But the photography is extremely flat, and you are constantly aware that the sets are indeed movie sets, the costumes are movie costumes, and so on. Yes, it is all beautifully rendered, but you can't buy into it as anything real.

    The Hollywood Royalty Edition DVD edition offers a good but by no means flawless print of the film and several bonuses. It is unfortunate that they are not particularly illuminating. While director John Water's commentary is enjoyable, he approaches the film only as a fan. Even so, Water does make several telling points: many of the things that Crawford does which seem so odd (bathing the face in ice, for example) are actually commonplace cosmetic necessities for movie stars; many of the things the film treats as abuse were, although carried to wild extremes in the story, typical of child-rearing practices of the 1940s and 1950s.

    There are also three short documentaries featuring a number of cast members, most notably Diana Scarwid; these are actually entertaining for the fact that those who appear still seem to regard the film as "a good movie." The only really significant interview is with Lypsinka, an artist who has driven Crawford impersonations to the level of wicked satire and high art, and who offers a number of interesting personal insights into the iconography involved.

    Like the film itself, the bonus package has two great failures. The first is that Faye Dunaway does not appear in interview or commentary; it would be very interesting to have her own take on the film, its failures, and its afterlife. Given her sentiment, it is an understandable non-involvement; less understandable, however, that there is not so much as a potted biography of the actress--or indeed of any member of the cast, for there are no written notes of any kind.

    The second great failure of the bonus package is that it contains no factual information on either Joan or Christina Crawford. There is no indication here that those who knew both women are sharply divided over the accuracy of the portraits both here and in the book by Christina Crawford from which the film is drawn. A number of people, including actresses Betty Hutton and June Allyson, supported Christina Crawford's accounts, but an equal number, including actress Myrna Loy and Christina's younger siblings, flatly stated that Christina's accusations were largely fictitious.

    When all is said and done, and in spite of performances and moments that are actually extremely good in isolation, MOMMIE DEAREST is a film that falls under the "so bad it's good" category of cult films. While I am taken aback by the bizarre nature of the movie, I personally find the amusement involved almost as dark as the movie's plot; it is not among my cult film favorites. Even so, I can understand the appeal it has for others, and I give it five stars on that basis.

    GFT, Amazon Reviewer
    7YellowManReanimated

    A triumphant performance in a film that fails on almost every other level

    Mommie Dearest is the cinematic retelling of Christine Crawford's excoriating autobiography in which she details the psychological and physical abuse she suffered from her mother, legendary Hollywood actress, Joan Crawford. In the film, Joan is played by Faye Dunaway, a role which is widely considered to have derailed her own Hollywood career. Although the film is supposedly based on Christine's story, its centrepiece is very much Joan herself. We witness her romantic dalliances, her battles to remain relevant in the film industry and, most memorably, her fits of ferocious insanity and cold manipulation towards her tormented adopted daughter, Christine (played by both Diana Scarwid and Mara Hobel). This involves seismic freakouts over the use of wire hangers, beatings, an attempt to choke an adolescent Christine to death over a perceived public embarrassment, and continual efforts at the forced feeding of rare meat. All the while, Christine is obligated to refer to her mother as "Mommie Dearest".

    As a film which was apparently intended to be a hard-hitting investigation of the horrors of child abuse, this movie has a unique and surprising legacy. It is not recognised critically as a film of value; however, its cultural impact has been significant, particularly for those old enough to remember the controversy surrounding the film's release. As a result, discussions over the film tend to centre around the validity and ethics of its vicious portrayal of a Hollywood icon. Fascinatingly, given its subject matter, the movie has also become a camp classic in the mold of The Rocky Horror Picture Show, where audiences will attend in drag and chant key lines from the film in unison followed by unanimous, raucous laughter. Who ever knew that a film that exposed a celebrated figure as being a child-abuser could be such a hoot...

    When it comes to analysing the reasons for the above reception, we could do worse than by turning our attention to the first scene. The main character is filmed from behind as she meticulously bathes her face in a bucket of cold ice before rubbing it with a concoction of steaming liquid potions. The camera is focused on filming her from behind and it only shows her from the neck down. The subject is thus eeriely depersonalised in a way which suggests horror undertones. Now this was no doubt intended to show the extreme dedication and the desperation of Joan's attempt to control every aspect about her, especially her looks, but the film-makers only seem to have one approach to their subject: exaggeration.

    This approach continues for the rest of the film as we are exposed to a portrayal that is so dramatic, so manipulative, so unhinged that the character fully enters into the territory of horror villain. Joan is shown in scene after scene screaming, howling, beating, chopping, choking. She is depicted as a raging, spit-flecked psychopath, able to be triggered at the slightest perceived provocation: "NO WIRE HANGERS!" One particular scene shows her as capable of murder as poor Christine's life is almost choked into non-existence as a response to a fairly mild moment of defiance. In the words of the angelic looking child Christine, "For Christ's sake."

    Due to such unrelenting exaggeration, the film is not centrally a dramatic portrayal of child abuse or any other social subject. It is, rather, both an intensely focused character study and an exploitationist piece of domestically-situated horror. Despite the views of many, I would argue that this is not due to Faye Dunaway's performance per se, but the way in which her performance is contextualised. When you see the first of Joan's dramatic explosions, it is pretty shocking. Joan is played as relatively composed during the film's initial scenes and the child Christine is essentially cuteness and vulnerability personified. Seeing Joan act so cruelly towards her, therefore, initially has the desired effect. The problem is that the entire focus of the film very quickly shifts to a presentation of undiluted rage and insanity, with the rest of the movie lifelessly punctuating the next histrionic detonation. No craft, ambition or skill is shown by anyone behind the camera in channelling what is, in my view, an exceptional central performance into a fully-developed and insightful narrative experience. After all, is Dunaway's performance, from an acting perspective, any more over-the-top than Robert De Niro's in Raging Bull (note the title here) or Gena Rowlands' in A Woman Under the Influence, or Daniel Day Lewis' in There Will Be Blood? Three cinematic performances that demonstrate unmistakable greatness. I would say no. The difference is that De Niro, Rowlands and Day Lewis' performances exist in a wider narrative which is rich, engaging and is able to ground the respective portrayals. Some people are psychotically unhinged, and Joan was played that way here. From a dramatic perspective, there is nothing wrong with that but the film needs to provide a context in which the performance can be meaningfully understood. If the entire rhythm and pulse of the film is based around a performance that is so intense, you risk going from dramatic character study to camp, scenery-chewing, unintentional laugh-fest.

    However, as an appreciator of great acting performances, I can not allow Dunaway's efforts to go unnoticed here. She does not over-act, it is the films architecture which under-delivers. This is, actually, a remarkable feat of acting, and it's a great shame that it is now so often seen as hammy to the point of hilarity. Let's bear in mind, De Niro had Scorcese, Rowlands had Cassavetes and Day Lewis had PT Anderson. Who did Dunaway get? Frank Perry.

    As I have no knowledge of Joan Crawford personally, I'll make no comment on the veracity of Dunaway's performance, although, artistically, I'm not sure that matters. I will say, though, that it is clear Dunaway reaches deep within herself to deliver something quite special here. She is intense as hell and completely committed to the madness, insecurity and deep sadness that must motivate the actions and reactions of someone as disturbing as the character we see onscreen. Dunaway does not strike any false notes, her conception is fully realised and has a depth and texture that is there to be felt by those who are able to appreciate it. As a showcase of the immense craft of one of the greatest cinematic actresses of all time, this film is actually a triumph. The fact is; however, Dunaway's performance would have been worthy of one of cinema's greatest dramatic tragedies. Instead it has been doomed to be unappreciated, or, perhaps even worse, contemptuously appreciated, in a film that is widely regarded as a farce.

    7/10 (And all 7 of those points belong to Faye)

    Argumento

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    ¿Sabías que...?

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    • Curiosidades
      Faye Dunaway mentions in her autobiography that she screamed herself hoarse during the filming for the notorious wire hanger tantrum scene in this movie. She called Frank Sinatra for help, and he gave her some pointers on how to get her voice back into shape.
    • Pifias
      When Joan Crawford substitutes for her daughter on a soap opera, producer of show gives her a pep talk during a commercial, indicating it was a live broadcast. In reality 'The Secret Storm' was taped and director later said Crawford's performance was so poor he had to patch it together in editing room. Although it was recorded, The Secret Storm was "live tape", meaning that it was treated as if it were a live broadcast. At the end of each act, the actors stopped for the exact length of the commercials and then resumed taping.
    • Citas

      [addressing the men in the Pepsi boardroom]

      Joan Crawford: Don't fuck with me fellas. This ain't my first time at the rodeo.

    • Versiones alternativas
      Due to the damage on the film's master, all current video/television prints are missing the dramatic music as Joan destroys her rose garden.
    • Conexiones
      Featured in Sneak Previews: Continental Divide, Mommie Dearest, Only When I Laugh, Body Heat, First Monday in October (1981)
    • Banda sonora
      I'm Sitting On Top Of The World
      by Sam Lewis, Joe Young (as Young) & Ray Henderson (as Henderson)

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    Preguntas frecuentes21

    • How long is Mommie Dearest?Con tecnología de Alexa
    • How faithful is this movie to the book, and is it an accurate portrayal of real events?

    Detalles

    Editar
    • Fecha de lanzamiento
      • 25 de septiembre de 1981 (Estados Unidos)
    • País de origen
      • Estados Unidos
    • Idioma
      • Inglés
    • Títulos en diferentes países
      • Mamita querida
    • Localizaciones del rodaje
      • 355 S. Mapleton Drive, Holmby Hills, Los Ángeles, California, Estados Unidos(pool-area and rear of Joan Crawford's house, demolished)
    • Empresa productora
      • Paramount Pictures
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    • Presupuesto
      • 5.000.000 US$ (estimación)
    • Recaudación en Estados Unidos y Canadá
      • 19.032.261 US$
    • Recaudación en todo el mundo
      • 19.034.156 US$
    Ver información detallada de taquilla en IMDbPro

    Especificaciones técnicas

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    • Duración
      2 horas 9 minutos
    • Mezcla de sonido
      • Mono
    • Relación de aspecto
      • 1.85 : 1

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